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Book___x_i_b 

CopyiiglitN? 



CQE^EUGHT DEPOSIT. 



Copyrighted 1921 by 

The House of Kuppenheimer 

Chicago 



Tempered Clothing 



HI 



— an investment 
in good appearance 



Published 1921 by 

The HOUSE of KUPPENHEIMER 




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QGl 22 1921 



C1A631583 



Plate I 




ADMINISTRATION BUILDING 
B. KUPPENHEIMER & CO., CHICAGO 

Cloth refinishins^ department occupies one entire 
floor of this building 



The Idea 

Kuppenheimer Good Clothes 
make their great appeal 
through superior design and 
craftsmanship . Materials 
are usually taken for 
granted. It is true that any 
other clothing manufacturer 
can offer the same fabrics 
if he is willing to take the 
trouble. This is the story of 
supreme willingness to' 'take 
the trouble'''' and to lay the 
basis of honest materials 
for artistic tailoring. 



Why Kuppenheimer 

Clothing Is More Than 

Mere Clothing 



Foundations 



D 



ID you ever realize that most fail- 
ures in this world come from poor 
foundations? Of course you have heard 
in church of that house built upon the 
rock which stood firm while its neighbor 
built upon sand was swept away. And 
you have read of pyramids and fabrics 
which have resisted the ravages of forty 
centuries in Egypt. And the success 
magazines tell us of men who have shot 
up into fame because the testing time 
showed they were built of good stuff. 
But in spite of all this information and 
these preachments how much do you 
really know about "honest materials," 

9 



"solid foundations," and their relation to 
real and permanent values? How many 
sellers or wearers of clothing know any- 
thing definite about whether proper 
foundations are put into their clothes and 
how they are put there? 

It is a safe guess that to the average 
man cloth is cloth, nothing more. Just 
as pigs were pigs in the story — even if 
they were rats or elephants. He would 
think it unmanly probably to be a judge 
of fabrics or to know anything except his 
choice in style, color and price. The 
discriminating man is interested in know- 
ing what makes his soup so tasty or why 
the roast has such a wonderful flavor or 
how his wife makes her rolls so light; and 
no sane man would fail to watch the 
builders of his house to see that they put 
real cement in its foundation and sea- 
soned lumber into its walls. But to the 
subject of clothing — one of the three 
fundamental human needs — men ordi- 
narily bring much less understanding and 
informed interest than to either food or 
shelter. To be sure just now some men 

10 



are beginning to show an interest in 
fabrics. 

''All Wool'' 

Most men have read or heard enough 
to be caught by the phrase ''all wool." 
What more could you want? What more 
honest? What more safe? Yet "all 
wool" is almost as vague a term as 
"democracy" or "cooperation." Said of 
any given piece of cloth it merely means 
that it contains no cotton or hemp or 
wood pulp or glass or asbestos or any of 
the other substances workable into cloth. 
That cloth may be entirely of reworked 
wool or it may be half new wool and half 
reworked, or any one of a dozen rates of 
mixture. 

Wool Plus Workmanship 

The real question after all is not 
merely one of wool but of textile work- 
manship: not merely what is put into a 
fabric but how. For fifty odd years The 
House of Kuppenheimer has been build- 
ing up the merchandising experience and 
critical judgment which enable it to 

11 



offer its customers the very pick of both 
foreign and domestic looms. 

Honest Value the Foundation of Style 

The average man has a pretty clear eye 
for sii/Ze, and the tailoring industry caters 
to that desire. But the honest clothier 
knows that all the style in the world can 
never take the place of real value as a 
basis for public confidence. While it is 
perfectly true that stage "properties" and 
the art of camouflage have achieved 
miracles of illusion, in the one case it is 
a trick of war, in the other it is frankly 
recognized and paid for as dramatic 
illusion. Sound business could never be 
run on that principle. Caveat emptor — 
let the buyer beware — belongs to the 
Stone Age of business. 

Every people has a proverb more or 
less to the effect that you cannot make 
silk purses out of sows' ears. The clothing 
industry accepts the proverb and trans- 
lates it thus: ''All the fine tailoring in the 
world can't make poor cloths stand up." 

This of course does not in the least 
12 



minimize the tailor's art. It merely em- 
phasizes the fact that distinguished and 
enduring craftsmanship can only express 
itself through sound and honest materials. 
The high-grade clothier sells style and 
perfection of finish. But style is like the 
unusual mind : coupled with constitutional 
soundness it becomes genius; with an in- 
adequate and unsound basis it degener- 
ates into queerness or downright craziness. 
Style on cheap clothing materials is in- 
solence and mockery; on sound materials 
it has the enduring and satisfying char- 
acter of real art. Rhinestones will never 
become diamonds no matter how carefully 
cut or set. The winner of a marvelous 
'gold" brooch from the country fair 
"wheel of fortune" is lucky indeed if the 
gold hasn't all rubbed off in his pocket be- 
fore he reaches home. Cheap stylish cloth- 
ing has all the effect of a gaudy stucco palace 
at an Exposition Midway — grotesque, 
tawdry, evanescent. Honest style is like 
a fine old cathedral or chateau— noble in 
architectural design, solid in materials, 
conscientious in craftsmanship. 

13 



Kuppenheimer customers say that they 
can buy identical fabrics from other 
manufacturers, but that for some reason 
or other Kuppenheimer clothes after a 
period of wear look better and stand up 
better. The reason is two-fold: fine 
tailoring based upon solid fabrics. Fab- 
rics may superficially appear identical, 
named by the same name, made by the 
same loom, yet in the wearing prove to 
be incredibly different. Why? That's 
our story. 

''Survival of the Fittest'' 

So cloth isn't just cloth. It may be 
made of either good, bad or indifferent 
materials. But taking even the best of 
cloth as it comes from the mills can the 
clothing manufacturer use it direct or 
must he work it up? Very little cloth 
as it is turned out of the mills is directly 
available for high grade clothing. To 
The House of Kuppenheimer it is really 
just "raw material," even the finest silk 
or worsted or cassimeres, which must be 
processed in a dozen ways before being 

14 



cut up or tailored. It must run the 
gauntlet. The law of the survival of the 
fittest rules treatment of the raw cloth 
as it rules the finished garment. Not 
partly fit, nor fittest occasionally, nor 
fittest in fine weather, but fittest in all 
weathers and under all conditions and 
circumstances. Man has been favored 
in the evolutionary process of half a 
million years not because he was some 
darling of the gods but because he could 
"stand up" under all sorts of circum- 
stances and adapt himself to new condi- 
tions or master them. Civilized clothing 
for civilized man must be built to meet 
a thousandfold more complex situation 
than ever bothered his cave-ancestors. 

''Tempered Cloth'' 

Suppose we put it this way. Man has 
won out because he has been rightly 
tempered. All raw materials must more 
or less undergo this process of tempering 
or seasoning. We usually think of it only 
in connection with metals or wood or 
glass. But it is equally true or even 

15 



truer of clothing. Really fine clothing 
can be made only of highly tempered cloth. 
Not just cloth, nor all wool cloth, nor even 
virgin wool cloth, but tempered cloth. 
Tempered to meet varied needs. Some 
supple like a Damascus blade; some soft 
and fleecy ; some glossy like the flanks of a 
Vermont Morgan; some firm and virile 
like an Airdale; some smart; some care- 
fully neglige, some to suggest warmth, 
some sea shore coolness. Tempered to 
withstand sunlight and rain, the strains 
and stresses of vigorous manly life and the 
hard usage of amateur cleaners and 
pressers. 

Resu/ts Talk 

Results are supposed to speak for them- 
selves without too much inquiry into how 
and why. But the process, the how of it 
is always interesting, and to both the 
business man and the scientist may prove 
even more interesting and valuable. 
Knowing how a result is achieved protects 
the possessor of such information against 
fraud and deception. It gives him a key, 

16 



a check-up and a scientific standard for 
testing or comparison. The House of 
Kuppenheimer for fifty years has been 
proud to be judged by its results. Believ- 
ing that this long experience must have in 
it some intrinsic value for both science and 
sound business it proposes to go behind 
results and give some simple analysis of 
the tempering process which has contrib- 
uted to the fame of its product. As 
so often happens it will be found here 
again that genius is not magic but the 
capacity for taking infinite pains. 

The man who buys a Kuppenheimer 
garment gets not only clothing but in- 
surance. For every Kuppenheimer gar- 
ment carries its maker's guarantee. This 
guarantee or this clothes insurance is not 
a mere catch-penny advertising device. 
It is a genuine, real hundred per cent 
obligation upon the honor and resources 
of The House of Kuppenheimer. The 
only possible basis for this insurance is 
that "capacity for taking infinite pains" 
in the tempering and tailoring of the 
product. 

17 







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Preliminary Examination 
Space and invested capital by no means 
tell the story of careful manufacturing. 
But they at least are hints. The present 
lay-out of the Kuppenheimer refinishing 
department represents an investment of 
over $100,000 and covers an area of over 
12,000 square feet. This space is crowded 
with valuable machines, many of them de- 
signed and built especially to order. To this 
department is sent every inch of suitings 
and a considerable part of the trimmings 
which enter into the average garment. 

To begin with, every piece of suiting 
(woolen or silk or palm beach cloth) is 
given a preliminary examination by one 
of the greatest textile experts in the 
United States. Different pieces must be 
matched for color and shading, then 
checked up with mill samples for color, 
texture and quality. Later after being 
sponged and shrunk they are re-examined 
and ''re-shaded" to check up any new 
variations due to moisture or heat. 
Next every piece of cloth is "perched," 
that is, slowly unrolled under a special, 

19 



Plate III 




••PERCHING" 

Inch-by-inch examination for defects in piece 

goods 



constant light and given an inch-by-inch 
examination by experts. They watch for 
shading (particularly in piece-dyed goods), 
for spots, "mill shots," unevenness of 
weave, weak places, cuts, holes and other 
defects. Each defect is carefully marked 
by sewing on a piece of white tape as a 
guide and warning to cutters. Shading is 
so variable that one end of a 50 yard piece 
may be considerably **off" the other. In 
such cases the piece must be cut in two or 
more sections of like shade in order to 
secure evenness of color in each garment. 

Running the Gauntlet 
Then comes the real running of the 
gauntlet. First, the light testy for cloth 
must show not only evenness but integrity 
of color. Small samples are hung in a 
special metal cabinet under the rays of an 
8000 candle power electric light for fifteen 
hours. This is the equivalent of ten days 
continuous July sunshine. Formerly tests 
were made in the open air. One series 
covered a whole year on a roof in Chicago 
and in a selected spot at Palm Beach. 

21 



Plate IV 




LIGHT TEST FOR COLOR INTEGRITY 

Small samples of cloth hung on circular frame 
enclosing 8000 candle power electric light 



But the indoor light test has been proved 
much simpler, quicker and surer. Any 
fabric that survives this test is safely on 
its way through the tempering process. 
Yet here a word of advice may be offered 
in the interests of the "life-extension 
movement"as applied to clothing. Sellers 
and wearers of clothing should avoid leav- 
ing garments too long exposed to direct 
sunshine under glass in show windows 
or at home. 

Next the tensile test. A small sample of 
cloth is clamped into the two jaws of a 
machine. These jaws are spread apart 
by screw pressure which registers in 
pounds upon a scale. When the cloth 
finally splits or tears the scale is read and 
the figures noted. Certain standard 
strengths have been set up. For example, 
good worsteds should stand 75 pounds 
tension on the warp (i.e. lengthwise), 50 on 
the filling (crosswise) ; cassimere from 45 
to 50 on warp, 28 to 32 on filling; mohairs 
35 on warp, 22 to 27 on filling; Palm 
Beach cloths only a trifle less than worsteds ; 
silks much higher than woolen fabrics. 

23 



The test by abrasion is the most unique 
test (and the most recent, having been 
installed early this year). Of course it is 
impossible to predict with scientific accu- 
racy the exact life of any particular fabric, 
if for no other reason than the wide ranges 
of treatment it will receive by different 
wearers. But the abrasion test helps 
in comparing the resistant qualities of 
fabrics from different mills and is valuable 
in setting up at least a minimum of wear- 
ing quality under any ordinary circum- 
stances. The tester takes two strips of 
the same fabric. One is clamped firmly 
over a wooden half wheel; the other is 
stretched tight and pressed by heavy 
weights against it in such a way that 
when the wheel is set to rocking back and 
forth the two pieces will rub hard against 
each other. An automatic attachment 
registers the number of oscillations or 
rubs. At the end of a certain number of 
rubs the fabric is removed for inspection. 
This would represent, say, ordinary wear. 
A certain measured increase of the dose 
would quite outdo the hardest possible 

24 



treatment by an average customer. By 
experiment it will be possible to set up 
certain standards of wearing quality which 
must be met by the textile mills on such 
points as coat cuffs and elbows, pocket 
welts, trouser seams, strength of nap, 
tendency to shininess, changes in pattern. 
Of course, even the best of woolen cloth 
must not be asked to do the impossible. 
For example, there is a large demand for 
very soft fleecy overcoatings. They are 
graceful and luxurious to the touch and . 
beautiful to the eye. Designed to meet 
the requirements of those who favor these 
qualities, it would be futile and unfair to 
expect them to give also the same endur- 
ance and wearing qualities of the close 
weave, smooth finish fabric. Sweet and 
sour, soft and hard, the maiden's skin and 
the athlete's muscle cannot be combined 
successfully. With these reservations in 
mind, however, it is still fair to say thaK:, 
coupled with the light and tensile tests, 
this abrasion test gives the wearer the 
assurance that his cloth has passed a most 
rigorous inspection by the staff of "clothing 

25 



insurance" examiners. But that is only 
the beginning. 

The Tempering Process 
Once these preliminary inspections and 
sample tests are over, the real process of 
tempering (sponging, shrinking, finishing, 
shearing, pressing) begins. Of course all 
woolen fabrics are "finished" before leav- 
ing the mills. That is, after passing 
through the loom they must be ''scoured" 
(cleaned in soap suds to remove grease), 
and treated to give them density, com- 
pactness, pile or ''nap," and luster. When 
a fabric leaves the loom it looks like a 
plucked chicken; it is bare and harsh; all 
the strands show stringy, and the pattern 
is on the one hand too staring, on the 
other too foggy. The "finisher" puts on 
the feathers, so to speak, softens the rude 
lines and builds up a fibrous matted surface 
which not only improves appearance but 
adds to wearing quality. Incidentally this 
scouring and fulling and raising process 
shrinks the cloth considerably. 

But in spite of all the mill processing 
the first class clothing manufacturer per- 

26 



Plate V 




COLD WATER SHRINKING PROCESS (I) 

Cloth passing through cold water vat (in fore- 
ground), then over rolls and into hot-dry-air 
chamber (background) 



sists in treating the mill product as "raw," 
and proceeds to temper and refine it still 
further. 

A merchant tailor said to a customer 
recently, "Oh, but we cold water shrink 
all of our cloth !' ' As if that were all of it, 
and as if to imply that ready made 
clothiers couldn't or wouldn't indulge in 
any such extravagance of craftsmanship. 
But it is safe to say that there is not a 
single merchant tailor in America who 
has one quarter of the equipment or who 
can give a fraction of the care exercised 
habitually as a matter of routine by The 
House of Kuppenheimer or any other of 
the large manufacturers of high grade 
men's ready to wear clothing. Cold 
water is the smallest part of this refining 
process. Here again the nature of the 
material and the effect desired determine 
the treatment. 

All worsteds, for example, are run 
through a bath of cold water, then rolled 
tightly on wooden rollers (crabs) and 
allowed to stand for a couple of hours to 
become thoroughly and evenly moistened ; 

28 



:i^i}Jr^ 



Plate VI 




COLD WATER SHRINKING PROCESS (II) 

Cloth coming out of hot-dry-air chamber (back- 
ground) ready to be re-examined and 
steam sponged 



then they pass through a hot- dry-air 
chamber which removes not only the 
sponging water but also atmospheric 
moisture. An ordinary 14 oz. worsted 
requires about twenty minutes for this 
drying process; other weights in propor- 
tion. All mohairs and palm beach cloths 
also are treated to this wet sponge. What 
this means to the wearer may be judged 
from the fact that a 60 yard piece of palm 
beach cloth shrinks nearly two yards, or 
double the old hand method of shrinking. 
A piece of knitted overcoating has been 
known to lose seven inches out of fifty in 
width alone! 

Some fabrics are given a double dose of 
this treatment as a measure of precaution. 
It is not left to guess work, however, but 
to laboratory measurement. After spong- 
ing, a piece of the cloth is cut off and 
fitted exactly to a rectangular cardboard 
pattern about the length of a coat back or 
overcoat sleeve. Then it is sent to an 
expert presser who is instructed to man- 
handle it with his iron and wet rag. After 
he has done his worst the sample is 

30 




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returned. Unless it still fits the pattern 
very closely the fabric is responged. 

Woolens such as cassimeres or heavy 
overcoatings are not improved by wet 
sponging. They are tempered by being 
sprayed or boiled with steam. That is, 
they are run through machines which 
either literally spray the cloth as it passes 
through hot pressing rolls or roll it up 
under a tight cotton cover; in the latter 
case after steam has been forced through 
the roll for a few minutes it is allowed to 
stand over night to secure uniform spread 
of heat and moisture, cooling and shrink- 
age. The cloth is then pressed by hot 
rolls in order to give it proper luster and 
to "set" or ''close" the pattern; that is, 
to give the proper damp-resisting "per- 
manent wave" to every fiber and to insure 
that the fibers are meshed in such a way 
as to preserve both flexibility and tough- 
ness to the fabric. 

Worsteds, mohairs and palm beaches 
receive this additional steaming and 
pressing after their cold bath. Usually, 
however, lustrous fabrics like serges and 

32 



Plate VIII 




Ninety ton press with cardboard sheets and hot 
metal plates for pressing lustrous fabrics 



worsteds are not roll-pressed. Instead 
they are folded over sheets of polished 
cardboard, then placed in a press between 
hot steel plates and given from 80 to 90 
tons pressure for a whole night. This 
lays the pile flat and gives a fine smooth 
finish. Whereas ordinary cassimeres and 
overcoatings are steamed and pressed 
rolled, soft heavy-pile overcoatings (Mon- 
tagnac, Kynoch, Gibson and Lumgear, 
Worumbo, etc.) must be treated by open 
steam sponging to keep the pile fluffy. 
The same machine is used as in the case 
of worsteds, but instead of setting the 
pattern and laying the nap, it achieves 
exactly the opposite result of plushiness 
or fleeciness by piling the cloth in loose 
folds instead of rolling it tight. 

Fine gabardines and similar goods 
specially resistant to shrinkage are wet 
sponged and hung up in the open air to 
dry. When two thirds dry they are 
passed through a hot calender or circular 
"goose. ' ' The hot ' 'goose" revolves about 
one third faster than the rollers which 
carry the cloth. This gives the sweeping 

34 



effect of a hand ''goose" and shrinks the 
fabric as nothing else will. 

Certain overcoatings are specially 
treated for luster, and shower-proofed; 
and even suitings are sometimes so treated 
at the particular request of customers. 

All silks used for suitings are likewise 
specially prepared. The normal routine 
is to soak them from two to eight hours 
in clean cold water, then to hang them 
loosely to dry in the shade. Next they 
are spot-proofed and pressed by a unique 
process which gives them a lustre that is 
the despair of the silk mills. 

Clothing and Civilization 

A rough woven piece of woolen as it 
leaves the loom would do very well for a 
blanket, or it might be cut up into cloth- 
ing. It would of course even in that 
crude state possess the double virtue of 
covering nakedness and keeping out the 
cold. But after all is said and done 
people don't wear clothing just because 
of modesty or climate. Whatever the 
ultimate ethical judgment may be, the 

35 



simple social fact is that clothing is also 
and largely worn as a means of self- 
expression, for purposes of distinction, or 
as a satisfaction of some urgent craving 
for beauty. "Style" or "fashion" are 
crude words which attempt to summarize 
these aspects of clothing but which usually 
either overshoot the mark or fail to hit it 
at all. The social history of mankind 
shows how in all ages clothing has been a 
symbol of and at the same time a means 
toward social rank. Carlyle, in Sartor 
Resartus, tried to interpret all modern 
civilization by a philosophy of clothing. 
In the old feudal days rank was artificially 
preserved in part by laws reserving to 
the favored classes the right to use certain 
fabrics, trimmings, ornaments and the 
like. In these more democratic days of 
the Twentieth Century it is not law but 
good taste that creates favored classes in 
matters of dress. And it is also true that 
standards of taste are constantly rising. 
The American people at least demand 
better and better clothing. And as rel- 
atively greater prosperity permeates the 

36 



whole wage-earning group, the rise of 
standards is accelerated. 

Substance Plus Finish 

All this preamble means that not only 
does the clothes artist build up inherent 
quality in his materials but he strives to 
enhance and preserve that quality by 
superior finish. Consequently he tries 
to improve upon even the most careful 
work of shrinking and pressing. The 
process of ''finishing" cloth at the mills 
includes what is known as cutting or 
cropping or shearing. This is nothing 
more or less than clipping or shaving the 
surface of the cloth to trim off surplus 
pile or fibre after it is shrunk and before it 
is finally pressed. Formerly done by 
hand it is now achieved by very delicate 
machinery which in essence is a sixty-six 
inch lawnmower with razor blades adjust- 
able to the thousandth of an inch, and 
driven at high speed. 

Just as mill shrinking and sponging is 
inadequate for the production of fine 
clothing so also mill shearing is not 

37 



accepted as the last word. The fastidious 
customer wants smartness or clearness of 
weave and color pattern in this fabric, 
evenness of pile in another, a fine balance 
between formality and calculated care- 
lessness in a third. And all these effects 
can be more or less imparted or controlled 
by shearing. Most cheviots, soft finished 
woolens and flannels are only slightly 
sheared, for in them the natural "kind- 
ness" of handle must be preserved, the 
patterns softened down and a topping 
effect produced. Clear faced woolens and 
hard finished worsteds on the other hand 
require a finish to bring out clearness of 
weave and color pattern. The finest 
judgment must be used to attain these 
qualities without in any way causing the 
native texture to lose in softness or 
quality. Most worsteds and serges are 
sheared at least once in the Kuppenheimer 
tempering process. Some are run through 
twice. And as a measure of precaution, 
fabrics in which the pattern is clear on 
both face and back are sheared on both 
sides. This prevents mismatching of 

38 



parts in tailoring. The shearing process 
includes both clipping and automatic 
brushing to lay the nap preparatory to 
the final pressing already described. 

Tempered Through and Through 

This almost meticulous tempering proc- 
ess does not stop with the surface of a 
suit of clothes or an overcoat. It strikes 
deeper, into what a designer or tailor 
would call the very "vitals" of a garment, 
into canvas, tape, linings and other 
foundation materials. The secret of re- 
inforced concrete as a successful building 
material lies in the fact that the steel and 
the cement are so worked as to expand 
and contract at about the same tempera- 
tures. The result is that they pull 
together and offer a common resistance 
to any stress or strain. Just so with 
tempered clothing: all parts must pull 
together in fair weather and foul. It 
would be silly, for example, to shrink 
woolens and fail to look after canvas or 
haircloth, which are almost equally sen- 
sitive to heat and moisture. Therefore 

39 



all these so-called minor elements in 
clothing are processed. Tape» for example, 
is very important, for it is stitched around 
the edges of coats and vests or across 
fronts as bridles, to hold the cloth in shape 
and prevent spreading or stretching in 
seaming and pressing. Therefore it is 
carefully shrunk by being left in ^ cold 
water over night. The canvas interlining 
for coat fronts is given a slightly chemi- 
calized bath and hot roll pressed to shrink 
it, remove undue amounts of sizing, and 
give it flexibility. In this process it 
loses on the average from 23^ to 4 inches 
in length and 1 inch in width per yard. 
Haircloth passes through the ordinary 
cold water and hot-air-dry process 
common to mohairs and worsteds, in- 
cidentally losing 3 to 5 inches per yard of 
length. Wigans are similarly shrunk, 
particularly for use on mohairs, palm 
beaches and other "air o' weave" types of 
summer clothing, where it takes the place 
of canvas fronts; mohair interlinings like- 
wise, in order to secure to young men's 
suits greater flexibility than canvas 
ordinarily gives. 

40 



Does tt Pay? 

This then is the story in brief of how 
"just cloth" becomes the "tempered 
cloth" used by The House of Kuppen- 
heimer. Some people might be inclined to 
dub such extreme carefulness "fussiness, * ' 
just as they frequently call the genius a 
crank. Fussiness or crankiness if you 
please — but the real words are integrity, 
artistic conscience, insurance. 

Does it pay? Well, does conscience or 
integrity or professional skill ever pay? 
The long range experience of this house 
has proved beyond question that they 
do pay: pay in confidence, pay in good 
will, pay in prosperity. Carefulness is 
always costly, but nothing but the best 
pays a manufacturer when he is producing 
not mere merchandise but quality goods. 
A reputation which has stood the test of 
around half a century of the keenest com- 
petitive conditions could only have been 
based upon demonstrated integrity — 
quality of service. 

This is no Roycrofter sort of preach- 
ment, but a simple demonstration of how 

41 



quality, real quality that endures, quality 
all the way through, is achieved. It is no 
mystery story but simply the plain tale of 
how genius takes infinite pains. Some 
fine day its sequel will tell the story of 
how the genius of designers and tailor- 
artists in the Kuppenheimer shops has 
built up the finished clothing which has 
given the name Kuppenheimer in the 
world of men's clothing the same ring of a 
true standard which Sterling evokes in 
the world of silver. 



19 



— an investment 
in good appearance 



42 



